Englishhttp://onlinesahitya.com/
enLinguist, litterateur Pokharel no morehttp://onlinesahitya.com/node/1416
<span>Linguist, litterateur Pokharel no more</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Wed, 02/27/2019 - 09:17</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/node/1416" data-a2a-title="Linguist, litterateur Pokharel no more"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnode%2F1416&title=Linguist%2C%20litterateur%20Pokharel%20no%20more"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--item"><a href="http://onlinesahitya.com/category/author/balkrishna-sama" hreflang="en">Balkrishna Sama</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div>Linguist and senior litterateur Bal Krishna Pokharel passed away at the age of 86.</div><div><br /></div><div>Born in Chisapanigadi of Makwanpur district in 1990 BS, Pokharel did his Masters in Linguistics from Kolkata University. He started teaching at Tribhuvan University from 2019 BS. He taught at Linguistics at Morang Campus. He retired from teaching in 2046 BS. Pokharel also worked as a member of the then Royal Nepal Academy from 2036 BS to 2041 BS.</div><div><br /></div><div>Nepali Brihat Sabdakosh, a Nepali dictionary, was published in 2040 BS under Pokharel’s leadership. He has authored nearly four dozen books. Lately, he was working on an epic poetry titled ‘Rupa Rani’. The book was due to be published both in English and Nepali language. According his student, poet and critic Hari Baral, his last work of literature had almost been completed.</div><div><br /></div><div>The recipient of Madan Puraskar in 2021 BS for his ‘Nepali Bhasa and Sahitya’, Pokharel was honoured with dozens of prizes. His wife died four years ago. He is survived by a son and two daughters.</div><div><br /></div><div>He body was cremated at Paropakarghat, Biratnagar on Sunday. Province 1 Social Development Minister Jeevan Ghimire honoured him by draping the national flag over his body. Biratnagar Metropolitan Mayor Bhim Parajuli and Professor Dr Tanka Neupane, among others, talked about his contribution to Nepali language and literature.</div><div><br /></div><div><font size="2">[Text and Photo adopted from <i>The Kathmandu Post</i>]</font></div></div>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/427" hreflang="en">Bal Krishna Pokharel</a></div>
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Wed, 27 Feb 2019 09:17:36 +0000Online Sahitya1416 at http://onlinesahitya.comhttp://onlinesahitya.com/node/1416#commentsInternational Theatre Festival to be Organizedhttp://onlinesahitya.com/nepal-international-theatre-festival-2019
<span>International Theatre Festival to be Organized</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Fri, 02/22/2019 - 02:58</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/nepal-international-theatre-festival-2019" data-a2a-title="International Theatre Festival to be Organized"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnepal-international-theatre-festival-2019&title=International%20Theatre%20Festival%20to%20be%20Organized"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div>Eight active theatre groups in Nepal are organizing a week long international theatre festival in Kathmandu, in spring 2019. Mandala Theatre- Nepal, Shilpee Theatre, Sarwanam Theatre, Actors’ Studio, Theatre Village, Theatre Mall, Katha Ghera and One World Theatre are going to host ‘Nepal International Theatre Festival 2019’ in 5 different venues in Kathmandu. The one week long theatre festival will kick off in 25th February 2019 to 4th March 2019.</div><div><br /></div><div>According to the press release by Nepal International Theatre Festival (NITF) 2019, the event is a celebration of art, culture, traditions in the form of theatre performances. It will incorporate the aesthetics of Jatra, Poetry, and the landmarks of Nepali Rangamanch during the eight day long festival. At least eight other international countries are invited to add value through their performances in the festival. </div><div><br /></div><div>With the slogan “Theatre for Social Transformation: An Artistic Voyage”, NITF 2019, the weeklong festival is determined to strengthen the communal harmony, respectfulness for social diversity and to contribute in preservation on intangible cultural heritage through social awareness, art and exchange. Moreover, the festival aims to support Nepali theatre groups coming together in a shared platform to explore their aesthetic expressions and solidarities for relevant socio-political issues. </div><div><br /></div><script async="" src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <ins class="adsbygoogle" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-ad-client="ca-pub-8816943402812176" data-ad-slot="8065012848"></ins> <script>
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</script><div>Around 30 productions from all over the world will be showcased during the festival. The theatre productions will be selected by NITF mentors. These plays will be the reflection of the vibrant socio-political scenarios of local communities from different regions of the world.</div><div><br /></div><div>There will be minimum of 20 theatre directors from Nepal and 8 international theatre groups to stage their production in the festival. 10 participant directors from ‘Play Making Workshop 2017-18’, Mandala’s earlier event supported by GIZ-ZFD, will be staging their new productions in the Festival. </div><div><br /></div><div>Besides the play production, the festival will be featured by other allied events such as daily interactions, open-air performances, theatre photo exhibitions, recognition and award ceremonies, cultural and artistic stalls etc. The major festival is in plan for potential extension of it as ‘Parallel Festivals’ also in two other cities in Nepal. </div><div><br /></div><div>According to the organizers, to participate in the festival an application, which can be downloaded from NITF website, should be submitted to the festival secretariat by 31st December 2018. </div><div><br /></div><div>Six senior theatre artists from Nepal will be recognized through the festival for their longstanding contribution in development of Nepali theatre. Moreover, the festival aims to establish an innovative idea award “NITFest Unique Idea Innovation Award” to award to encourage young enthusiast contributing to the Nepali Theatre directly or indirectly. This award is to recognize persons who are the proponents of outstanding innovative ideas that are expected to bring about substantial improvements in the areas of teaching, learning, research, community services, and administrative affair in response to Nepalese Theatre. The Award will offer a maximum of two distinguished awards to applicants who have suggested creative ideas that have the potential to bring about substantial improvements. The two best ideas will each be awarded with 100,000.00/- (NPR One Lakh). </div><div><br /></div></div>
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<div class="field--item"><a href="http://onlinesahitya.com/ranga" hreflang="en">Ranga</a></div>
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Fri, 22 Feb 2019 02:58:40 +0000Online Sahitya1413 at http://onlinesahitya.comhttp://onlinesahitya.com/nepal-international-theatre-festival-2019#commentsFewa Summits Renunciationhttp://onlinesahitya.com/node/1399
<span>Fewa Summits Renunciation</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Wed, 02/20/2019 - 11:22</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/node/1399" data-a2a-title="Fewa Summits Renunciation"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnode%2F1399&title=Fewa%20Summits%20Renunciation"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--item"><a href="http://onlinesahitya.com/category/author/madhav-joshi" hreflang="en">Madhav Joshi</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div><span style="font-size: 13.008px;">Oh, Fewa Lake! You're the glory glance of Pokhara,</span><br /></div><div>A gift of nature with deep blue sky reflection,</div><div>A mirror and joy for everyone in Thy vision,</div><div>Ever peaceful hidden treasure -n- nature possession.</div><div>The shelter of all livings–n–nonlivings,</div><div>Floater of Himalayan Annapurna range -n- the people,</div><div>Hills-n-hillocks, trees -n- forests, villages-n-cities,</div><div>Fauna- n- floras, minds -n- thoughts of the poets.</div><div>An inspiration of civilization, agriculture-n-boating,</div><div>Lap of encroachment, floods, sand -n- silt,</div><div>Rains-n-rainbows, birds, their flies -n- chirps,</div><div>Fishes and their enchanting dances -n- tilts.</div><div>Conquerer of firmness -n- forbearance,</div><div>Egotism, lust, brute force, anger-n - arrogance,</div><div>Never mind you're squeezed in shape -n- size,</div><div>But always in a peaceful whisper for self-dance.</div><div>A destination of tourists, ethnicists -n- pilgrims,</div><div>A soother in the heart of honey-moon dwellers,</div><div>Employment generator, founder of hotels -n- restaurants,</div><div>The worth sight of film producers, musicians -n- singers.</div><div>You're a dependable source of micro-hydropower,</div><div>Contributor of environmentally safer Pokhara,</div><div>The heartbeat of Nepalese unity -n- eternity,</div><div>Self-confident in creativity, agility -n- sustainability.</div><div>Manifest festivals, happiness -n- peace of Thine,</div><div>Service to all creatures -n- charity to shine,</div><div>Fewa summits renunciation of the fruit of actions,</div><div>Ever to refine, ever to refine and ever to refine.</div></div>
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<div class="field--item"><a href="http://onlinesahitya.com/Poem" hreflang="en">Poem</a></div>
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Wed, 20 Feb 2019 11:22:39 +0000Online Sahitya1399 at http://onlinesahitya.comhttp://onlinesahitya.com/node/1399#commentsThe Cosmos as a Kaleidoscopehttp://onlinesahitya.com/art/the-cosmos-kaleidoscope
<span>The Cosmos as a Kaleidoscope</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Wed, 02/20/2019 - 03:59</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/art/the-cosmos-kaleidoscope" data-a2a-title="The Cosmos as a Kaleidoscope"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fart%2Fthe-cosmos-kaleidoscope&title=The%20Cosmos%20as%20a%20Kaleidoscope"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/415" hreflang="en">Timothy Aryal</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div><font size="4">Artist SC Suman came to Kathmandu four decades ago and the first site he went to see was the Pashupatinath Temple. There were more monkeys and more trees, he recalls. And less people. Everything looked orderly and beautiful.</font></div><div><font size="4"><br /></font></div><div><font size="4">In Suman’s new exhibition Mithila Cosmos: Songs of Innocence & Experience, this image of Pashupatinath is complemented by another painting of the temple as it stands now. This diptych, along with another displaying Kirtipur then and now, is the highlight of the show. ‘Pashupati Then’ naturally looks more peaceful, with colourful trees and fewer human figures. There are three monkey-like figures in this piece, the artist’s reference to the pictorial maxim The Three Monkeys, embodying the proverbial principle ‘see no evil, hear no evil, speak no evil.’</font></div><div><font size="4"> </font></div><div><font size="4">The three monkeys, however, are missing in the ‘Pashupati Now’ piece. The painting looks more congested, with more human figures and more activity. Definitely, the painting means a lot more than just its literal visage, but what the artist is trying to say is clear even for someone not well-versed in the Mithila arts—the once sacred religious site of piousness and goodwill has now become a souk for pageantry and business.</font></div><div><font size="4"><br /></font></div><div><font size="4">The artist makes similar observations in ‘Kirtipur Then and Now’. What looks so orderly and populated with monasteries and vegetation in ‘Kirtipur Then’ degenerates into chaos in ‘Kirtipur Now’, with more people, temples toppled upside down, and more markets.</font></div><div><font size="4"><br /></font></div><div><font size="4">Suman has travelled a long way down memory lane to create the Mithila-inspired artworks to put on display for his ‘Mithila Cosmos’ exhibition, currently ongoing at the Siddhartha Art Gallery in Babarmahal. The exhibit displays a total of 29 artworks and is, as Suman says, his seminal exhibition. This is Suman’s 16th solo exhibit and the works seem to encompass Suman’s life from the beginning to the end.</font></div><div><font size="4"><br /></font></div><div><font size="4">The works on display chart the artist’s two-pronged journey, the journey within and without—from coming to Kathmandu, travelling and trying to find his place to the journey inside himself. The works embody the artist’s concern for the world he lives in, not only for the people in it but more so for the animals, in works such as ‘Elephant Herd in Nijgadh Jungle’ and ‘Mass Protest by Wild Life’. The former piece is more formal, featuring shapes of elephants and trees with perfect circles enclosing their branches. The black-and-white inside is bordered by two layers, the first made up of red and saffron and another in pitch blue. While the ‘Elephant Herd’ exudes a vibe of pleasing assonance, the same jungle in ‘Mass Protest by Wild Life’ looks disturbed and in disarray. Anxious-looking wildlife populate this painting. There are plenty of tilted umbrellas.</font></div><div><font size="4"><br /></font></div>
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<div><font size="4">The trees too are haphazard, their trunks bent.</font></div><div><font size="4"><br /></font></div><div><font size="4">Made late last year, the painting is Suman’s response to the government decision to cut down more than two million trees to construct an airport in Nijgadh. “The decision was out and out farcical,” Suman says. “How could anyone imagine destroying the habitat of so many wildlife in the name development?”</font></div><div><font size="4"><br /></font></div><div><font size="4">These themes of civilisation, development and decadence are further evoked by pieces such as ‘Vishnumati Ghat’ and ‘Guhyeshwari’.</font></div><div><font size="4"><br /></font></div><div><font size="4">What makes for the most pleasant observation in this exhibit, however, is when the artist paints the journey inside of himself. “The journey inside is the most vibrant, isn’t it?” Suman says, before we proceed to observe the last piece on display, ‘Journey of Soul’.</font></div><div><font size="4"><br /></font></div><div><font size="4">This acrylic on art paper piece makes use of a variety of colours, unlike the others. There is a big circle in the centre and inside it is a smaller circle and a lotus flower. Hues of saffron, yellows and blues are most pronounced. Wave-like lines cross the big circle and in the small circle, there are silver-coloured dots.</font></div><div><font size="4"><br /></font></div><div><font size="4">“The soul is eternal, it goes on,” says Suman. “Even though life is disturbed by ups and downs there has to be silver linings, twinkling stars, which make one go on and find one’s purpose in this universe.”</font></div><div><font size="4"><br /></font></div><div><font size="4">The exhibition ‘Mithila Cosmos: Songs of Innocence & Experience’ was on display at the Siddhartha Art Gallery, Babermahal.</font></div><div><font size="4"><br /></font></div><div><font size="4">Photo and text, first appeared in <i>The Kathmandu Post</i></font></div></div>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/416" hreflang="en">SC Suman</a></div>
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<div class="field--item"><a href="http://onlinesahitya.com/ranga" hreflang="en">Ranga</a></div>
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Wed, 20 Feb 2019 03:59:05 +0000Online Sahitya1378 at http://onlinesahitya.comhttp://onlinesahitya.com/art/the-cosmos-kaleidoscope#commentsNepali Literature in Indiahttp://onlinesahitya.com/node/1376
<span>Nepali Literature in India</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Sat, 02/16/2019 - 02:16</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/node/1376" data-a2a-title="Nepali Literature in India"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnode%2F1376&title=Nepali%20Literature%20in%20India"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--label">Author</div>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/413" hreflang="en">Mahendra P Lama</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div>In 1992, Nepali was recognised as the 19th official Indian language and included in the Eighth Schedule of the Constitution of India. It has been recognised as one of the modern languages of India by the Sahitya Akademi, or Academy of Letters, of the Indian government since 1975; and the prestigious Sahitya Akademi Award has been bestowed on the best literary works of Indian Nepali writers along with other Indian languages every year.</div><div><br /></div><div>The process for picking the best literary work is well laid down. First, a comprehensive ground list of published works is prepared. Next, five to eight books are identified as potential competitors. Finally, three jury members sit, deliberate and decide the best work. Among the nine books that competed for the award in 2015, Gita Upadhyay’s Janmabhumi Mero Swadesh; Gupta Pradhan’s Samaika Prativimbaharu; Kalusingh Ranapaheli’s Prashna Chinha; Sudha M Rai’s Bhumigeet; Rajendra Bhandari’s Shabdaharuko Punarbas and Basant Kumar Rai’s Kehi Kathaharu are worthy of mention.</div><div><br /></div><div><b>Indianness of Indian Gorkhas</b></div><div><br /></div><div>The entire plot of Gita Upadhyay’s novel is woven around the mobilisation of village folks in and around Tezpur, Assam against the highhandedness of the British Indian government and their joining the freedom struggle led by Mahatma Gandhi. Villagers living in the vicinity of Kaziranga forest are thrown out and their homes burnt as the area was declared a reserved forest. An Indian Gorkha named Chabilal Upadhyay leads the protests. The British tried to divide communities and geographies at the lowest possible level.</div><div><br /></div><div>During Gandhi’s visit to Tezpur when Chabilal was arrested, his conversationwith the British local police commissioner Creche Saheb at Hazra Park was recorded like this: “Your Nepal is an independent country and our friendly neighbour. Why do you involve yourself in this movement? Disassociate yourself from the Congress, you will be given all the facilities by the government. You do not need to do anything, if you come along in my car, you will get Rs500 per month, gratis. You will get back your confiscated rifle and pistol.”</div><div> </div><div>This very damaging statement hurt Chabilal’s identity as an Indian and his integrity as an individual. Chabilal replied, “My birthplace is Assam, and I will die in Assam. Nepal could be an independent country, but I have never seen Nepal. Wherever I am born that is my motherland. My ancestors could have come from Nepal at a particular juncture, and hence Nepal could be the land of my father, but I have nothing to do with that country now. I know only about my motherland. This country’s movement is therefore my movement.” This had a huge message for the British India regime about the Indianness of Indian Gorkhas.</div><div><br /></div><script async="" src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <ins class="adsbygoogle" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-ad-client="ca-pub-8816943402812176" data-ad-slot="8065012848"></ins> <script>
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</script><div>The novel provides a very captivating glimpse of the life of the Nepali community in rural Assam during the early 20th century. Gita Upadhyay reconnects the ever neglected north-eastern region with the rest of India in a creatively competitive framework, and shows that the freedom struggle became successful because the Indian civilisational ethos respected different cultures, languages, professions, geographies and religions.</div><div><br /></div><div><b>Use of rural colloquialism</b></div><div><br /></div><div>Similarly, Gupta Pradhan is an infectious storyteller and makes the reader wait for another moment, hour, page and event.</div><div><br /></div><div>The stories end when they are at their pinnacle. In “Sapit Sahar” (cursed town), a stranger in search of drinking water wanders around the town but does not get any. He comes across a hermit who has known the town and the people intimately, and starts conversing with him about how difficult it has been to get even a cup of water. It so happens that the hermit himself has been looking for drinking water for ages without success.</div><div> </div><div>While they are talking, a protest rally appears, and the writer asks the hermit if the protest is against the water scarcity. The hermit replies, “No, no, there is never any protest about the water scarcity in this town now. Because the moment the water scarcity becomes an issue, no one will join the protest march. Because in the past, many people have made it a politics of opportunity...this is a protest against wrongs.</div><div><br /></div><div>This is a protest which wants to add another wrong to the history of wrongs in this town.” In Kalusingh Ranapaheli’s superbly written short stories, one finds newer thinking processes clashing with traditional practices. There are also complexities that have no simplicities where a childless couple philosophises about their childlessness through various expressions including the creation of a literary piece like a novel personified as their son. The power of arguments is reflected in “Ajingar Ra Muso” (python and mouse). The mouse’s clever argument about why the stomach becomes a source of sorrow and pain mesmerises the python which ultimately makes it lose both its stomach and appetite.</div><div><br /></div><div>The writer is swift, pointed and concise in his very short yet effective stories. What is fascinating is the use of rural colloquialisms that illustrates the store of rich rural expressions in Indian Nepali literature.</div><div><br /></div><div>For example, a simple description of how villagers plough and prepare the fields in the month of Asar for sowing paddy for the next food season contains scores of terms and expressions that urban dwellers have conveniently forgotten. Expressions like “aali-aali” (some sort of terraced fields), “hollow and heele hollow” (ploughing forks pulled by cattle), “juwa” (yoke), “jotaro” (tightening rope), “haris” (the long wood that joins “juwa-hollow”) are spread all over profusely.</div><div><br /></div><div><b>Vivacious expressions</b></div><div><br /></div><div>Sudha Rai, in her anthology of 30 well-crafted poems, writes about the futility of life and living. The limitlessness and colourlessness become the theme of “Mayaka Bhakaharu” (tunes of love). A letter from a village wife to her husband fighting on the battlefield states: “Sometimes I am lost while I am furrowing the terraced fields sometimes I injure my hands while cutting vegetables maybe this state of mind is noticed by our eight year old Dumuhang, as he asked me what happened to you Mother hope you have sent a letter to our Father hope you have mentioned about toy pistol and new clothes when he arrives for Dussehra this time.” In Rajendra Bhandari’s collection of poems, expressions are complex and intriguing, and sometimes it is very difficult to decipher what his poetic feeling actually wants to convey and to whom. A reader tends to become directionless and at times clueless both within a poem and across poems. A simple reader loses interest and becomes disgruntled in not getting the core of the poems in the end.</div><div><br /></div><div>Perhaps this is his style. Among Basant Kumar Rai’s tastefully written short stories, “Neta Chunab Harepachi” (leader after losing the election) exposes the arrogance and theabsence of moral values in politicians. The blatant changes in societal attitude after a man retires from a prestigious position are shown in “Awakash Prapti” (retirement), which are the most vivacious expressions of his creative thinking.</div><div><br /></div><div>Lama teaches at Jawaharlal Nehru University, New Delhi and has been a jury member of the Sahitya Akademi Awards in Nepali literature for the last two decades</div><div>Article first appeared in <i>The Kathmandu Post</i></div></div>
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Sat, 16 Feb 2019 02:16:50 +0000Online Sahitya1376 at http://onlinesahitya.comhttp://onlinesahitya.com/node/1376#commentsNepali Literature Making it Known to the Worldhttp://onlinesahitya.com/node/1375
<span>Nepali Literature Making it Known to the World</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Fri, 02/15/2019 - 07:54</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/node/1375" data-a2a-title="Nepali Literature Making it Known to the World"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnode%2F1375&title=Nepali%20Literature%20Making%20it%20Known%20to%20the%20World"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/412" hreflang="en">Vijaya Chalise</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div>Capable and notable writers are getting lost in the crowds of less talented writers with connections.</div><div><br /></div><div>The growth of indigenous publishing and writing in recent years is a good sign. With the spread of education, a social and cultural change is happening and one instrument of cause for this change is the book. However, the growth of the reading-public has not increased with the pace of literacy and the educated mass. The book continues to remain a luxury for the vast majority of the population. Considering the important role played by literature in building up traditions, the field of literature has been sadly neglected. And the secular religion of the times, free-market capitalism has been winning the battle in all areas, including literature.</div><div><br /></div><div>Literature with explicit sexual content is a common item among the books and magazines on the pavements of main streets and corners of every flyover in the valley, as well as in big bookstores, aimed at tapping the urban teenage market. The question is, what will happen when mainstream literature, supposed to be the most valued representative of peopleâ€™s sentiments, experiences and cultural values, merges with this type of cheap literature? Unnecessary sexual content, meant for erotic thrills, has taken roots in Nepali literature as well as in some English literature written by Nepali writers. The other question is, could the coffee-table gossip, influenced by alien consumer culture in the name of Nepali writing, truly represent the spirit and genius of mainstream Nepali literature?</div><div><br /></div><div>There has been some tendency among Nepali writers to produce literature to meet the tastes of European and American readers, with discourse on sex, jealousy, feminism, fidelity, and marriage phenomena. This does not truly represent Nepali society. There is a danger, however, of taking the literary works seriously in the wrong way. So literature must stand in a recognisable relation to life, and these relations are various. Thus any superficial depiction of Nepali society would deprive such literature of any indigenous flavour. Nepali literature, art and culture is complex and of vital importance. The culture of different races existing in the world is also found in Nepal. We do have some literary geniuses whose work may not be far behind the standard of contemporary world literature, but lack of translation of such works blocks their access to international market. Thanks to the modern communication technology and increasing international exposure, many websites of literature, some translation works of Nepali literature in English and other languages and a new breed of Nepali writers originally writing in English and other foreign languages have revealed the life of Nepali society in the international arena.</div><div><br /></div><div>The need for Nepali literature to be translated into other languages to make it available to the worldâ€™s readers has been ignored by the state and publishers. However, some critics claim that Nepali literature today is comparable at an international level, but for lack of translation into other languages, it has hardly transcended the national boundaries. There is a good market too for quality Nepali literature abroad; but we have not been able to exploit it so far.</div><div><br /></div><div>The Royal Nepal Academy and Sajha Prakashan have not given enough attention to the need to translate quality Nepali literary productions into other languages. These publishers have so far published only a very limited number of translated English versions of Nepali works. The Academy has published Munamadan, some poems of Laxmi Prasad Devkota, Balakrishna Samaâ€™s Prahlad, Aswattahma by Madhav Prasad Ghimire, Saat Surya: Ek Phanko written by Ramesh Vikal, as well as Seven Nepali poets and Modern Nepali Poems in English. Likewise Selected Stories from Nepal, Devkota's Munamadan, and Sama's Expression after Death have been published by Sajha Prakashan. Some other works published by private publishers are: Seto Bagh by Dimond Sumsher, Selected Short Stories of Ramesh Vikal, Seiko Lag by M B B Shah, The Dream Assembled by Manuj Babu Mishra and Selected Nepali Lyrical Poems by Jiwa Lamichhane. Some Nepali works have also been translated into German, Chinese, Urdu, Japanese, French, Russian and Hindi.</div><div><br /></div><div>Enlistment of Nepali literature for translation purposes is really an appraisal task. If it could get its continuity, it would be an important contribution to Nepali literature. However, the selected titles and names should cover the diversity of subjects and should represent high quality works. The present scale of translation is not sufficient to represent Nepali literature properly. Even the translated anthologies 'Modern Nepali Poems and Selected Stories' do not represent contemporary writing in a fair and objective manner. This shows an urgent need for a systematic approach to translating and publicising Nepali literature and writers. In such a situation, capable and notable writers in Nepali are getting lost in the crowds of writers often less talented but with an international access. Likewise, recently some Nepali writers are making a name and a fortune writing literature in English. That is commendable. These works by Nepalis writing in English, who have access to the multinational publishing houses, have received an international audience. But unfortunately and wrongly, they are being considered the true representatives of the contemporary Nepali literature. This exaggerated view is likely to present a wrong picture of Nepali literary scene to the outside world.</div><div><br /></div><div><i>First appeared in The Himalayan Times</i></div></div>
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Fri, 15 Feb 2019 07:54:47 +0000Online Sahitya1375 at http://onlinesahitya.comhttp://onlinesahitya.com/node/1375#commentsMoon and Heartfelt Lovehttp://onlinesahitya.com/node/1374
<span>Moon and Heartfelt Love</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Fri, 02/15/2019 - 03:33</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/node/1374" data-a2a-title="Moon and Heartfelt Love"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnode%2F1374&title=Moon%20and%20Heartfelt%20Love"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/98" hreflang="en">Kamala Sarup</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div>And so far I can tell </div><div>Love is necessary for the existence of life.</div><div>It's perfect weather for it</div><div>You and me, both</div><div>Perhaps if you were nearer to me</div><div>Moon,</div><div>I would love talking to you </div><div>You are all incredible and awesome</div><div>Heartfelt</div><div>And I am walking all over you</div><div>I hand over a desire to tell you</div><div>If you could simply come closer.</div><div>It's perfect for this kind of weather</div><div>You are so far away from me now</div><div>Surrounded in an indeterminate space</div><div>From where I stood I could examine why</div><div>People without existence</div><div>It prolongs the journey of faith </div><div>I think thoughts of love,</div><div>I've set out my pride as a master</div><div>My moon, </div><div>It happened,</div><div>Although I wanted to express</div><div>There was no one there to hear</div><div>I on my part couldn't be given away</div><div>My desire to look at you</div><div>Didn't let me run away.</div><div>Perfect sun</div><div>Perfect moon</div><div>Perfect time</div><div>I might hold to feel love</div><div>If we are talking about love,</div><div>I'm willing to tell you</div><div>How am I to tell you with love?</div><div>My moon, everyone is selfish.</div><div>Love remains somewhere</div><div>There is also a classified section</div><div>Recall the definition of love.</div><div>Why is life scared?</div><div>Without any tears?</div><div>To tell you the truth, not much</div><div>I've been trying to tell you.</div><div>Even just for once you look at me</div><div>How my soul is at nighttime</div><div>Please you go on concealing </div><div>Can't I express your love?</div><div>Can't I cry in front of? </div><div>It was perfect weather on this trip</div><div>I tell you truly my moon;</div><div>I desire my life being one with you.</div><div>Love, purity, peace and flowers</div><div>Let us be friends and share this moment</div><div>Dealing with one another love, and pride</div><div>Desire and tears.</div><div>We even have to love one another.</div></div>
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Fri, 15 Feb 2019 03:33:56 +0000Online Sahitya1374 at http://onlinesahitya.comhttp://onlinesahitya.com/node/1374#commentsThe International Frog Conference / Bhairav Aryalhttp://onlinesahitya.com/nepali-literature/international-frog-conference-bhairav-aryal
<span>The International Frog Conference / Bhairav Aryal</span>
<span><span lang="" about="http://onlinesahitya.com/users/online-sahitya" typeof="schema:Person" property="schema:name" datatype="" xml:lang="">Online Sahitya</span></span>
<span>Sat, 10/05/2013 - 13:42</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/nepali-literature/international-frog-conference-bhairav-aryal" data-a2a-title="The International Frog Conference / Bhairav Aryal"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnepali-literature%2Finternational-frog-conference-bhairav-aryal&title=The%20International%20Frog%20Conference%20%2F%20Bhairav%20Aryal"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--item"><a href="http://onlinesahitya.com/category/author/manjushree-thapa" hreflang="en">Manjushree Thapa</a></div>
<div class="field--item"><a href="http://onlinesahitya.com/category/author/bhairav-aryal" hreflang="en">Bhairav Aryal</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><p class="p1"><span style="font-size: 13px;"><img src="http://nepalitimes.com/cms/ib/data/1/24/6199.jpg" alt="Bhairav Aryal Essay" title="Bhairabh Aryal Essay" width="250" height="258" style="float: right; margin-left: 5px; margin-right: 5px;" />In today's world, a son has greater worries than the unemployed; a journalist is in a greater rush than a taxi car. On top of that, if someone takes up journalism in order to stave off the daily hassles of being a son, you can imagine how patchy his life gets. And I am the kind of journalist who must serve journalism all day on the basis of a rickety cycle, and enjoy the nectar of filial life in the early evening, scraping out the pot for storing grains.<!--break--> That's why my mind keeps spinning all night and all day-as if a cinema reel were flickering on the screen of my brain. One second I'm thinking of the disarmament speeches of world leaders, another second I'm thinking about the boiled rice rations that I must gather by this evening. One moment it's the Geneva Convention, and the next moment it's the divorce of the mothers of sons and daughters.</span><span style="font-size: 13px;"> </span></p><p class="p1">This incident is still fresh and warm, just from the day before yesterday. I had finished reporting on the meeting of the All Nepal Family Problems Solution Meeting, and was heading home when I thought I heard a baby crying at the edge of the Kamalpokhari pond. For a while I thought it was just my cycle squeaking, so I ignored the noise, but then I saw that a young woman was solving the problem of family. I carried along, telling myself, 'Why keep digging once you know it's a useless root, and not ginger,' but to her misfortune, or to my misfortune, the tube of my cycle burst just then, so loudly you would think that a bomb had detonated on my head. She frantically tossed her bundle into the brushes and looked at me. As soon as our eyes met, I recognised her. She had led a delegation to the International Forward Ladies' Conference last year, and only a few days ago, she had given a talk on the edge of the Ranipokhari pond, vowing to dedicate her life to taking care of children by remaining unmarried all her life. There was no question that a journalist like I would recognise her. </p><p class="p1">You surely know, many things that a journalist sees he cannot write about, and many things that he writes about he cannot see. If he could write everything he sees, then the papers would be full of shoving and crushing and anger and jealousy and poison, et cetera. If he could see everything he writes about, then the world of man would be like the world of the gods: all progress, development, friendship and idealism. So why should a modern journalist pay attention to her bravery in solving her problem? The age demands wife and children planning; just because the method is different, how can it be called a crime? It could be that she's come up with a means of her own, to suit the times. </p><p class="p1">When I reached a little further, I saw a policeman scolding a loiterer. I dragged my cycle along, my legs trembling from fear that he might scold me too, but then, how would he dare catch a gentleman who rides cycles? Indeed, I had found a main news item, and I even thought up its title-'Confrontation Between Police and Robber.' Whether or not the man was a robber was for the police to figure out. I'm just a journalist, all I need is news. </p><p class="p1">In the end it doesn't matter, because these days, in every country, intelligence reports are Bramha's words for the government, and the papers and radio news are Bramha's words for the citizens. Intelligence agents and reporters have become so skilled at concealing what has happened, writing about what hasn't happened, coloring the white and twisting the straight, that in reality, world politics is in their hands. </p><p class="p1">A friend of mine used to say in jest-at the border of two countries, there were barracks on each side. One day, an intelligence agent and a reporter were walking towards the border on their side of the divide. Just then, a uniformed soldier from the other side ran across the border with something in his hands. The intelligence agent immediately called headquarters, and the reporter called the office. 'A soldier from such-and-such country entered our territory.' A police Jeep arrived immediately. The journalist at once reported, 'The police have also arrived.' The news was true enough. In no time at all, the morning editions of newspapers beat up a fuss-'Border encroachment by a soldier of such-and-such country.' The intelligence report was proved by the newspaper report. Politicians rushed to release statements, the parties rushed to hold an emergency meeting and passed a proposal of protest. Editors rushed to write editorials. The radios rushed to review the editorials. Allied nations stirred into action, learned folks like us got a chance to sit around at restaurants talking about all of this while chewing on meatballs. In the end, investigations showed that the soldier had been suffering from dystentry, and had to take a dump as he was heading out for morning duty, but the toilets were all crammed full, so he grabbed a mug of water and ran off to sit down wherever he could find a spot. Now you tell me how important intelligence agents and reporters are. That's why I decided to make news out of the encounter between the loiterer and the police. </p><p> </p><p class="p1">I hadn't even had time to write a report on the speeches given by various intellectuals and representatives at this morning's Firewood-and-Dung Distribution Meet. As soon as I got home, I settled down on the trunk to write, thinking 'I'll cough up all this nonsense all at once.' I ordered the mother of my son-'Alright, I don't have any time to eat any rice-shice, just bring me a chillum of sour tobacco leaves.' My sleeping son, representing his mother, replied-'Mother axed the chillum and burned it, Father!' I looked with amazement at the mother's face, only to see her make a face and say, through her nose, 'I couldn't find any firewood anywhere, so..' I shut up and started to write about the speeches and proposals made at the Firewood-and-Dung Distribution Meet.</p><p class="p1">[Translated by: Manjushree Thapa; source: Nepali Times] </p></div>
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Sat, 05 Oct 2013 13:42:10 +0000Online Sahitya1275 at http://onlinesahitya.comBhim Nidhi Tiwari: A Born Writer Of Nepal / Yuba Nath Lamsalhttp://onlinesahitya.com/nepali-literature/bhim-nidhi-tiwari-born-writer-nepal-yuba-nath-lamsal
<span>Bhim Nidhi Tiwari: A Born Writer Of Nepal / Yuba Nath Lamsal</span>
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<span>Tue, 10/01/2013 - 16:42</span>
<span class="a2a_kit a2a_kit_size_32 addtoany_list" data-a2a-url="http://onlinesahitya.com/nepali-literature/bhim-nidhi-tiwari-born-writer-nepal-yuba-nath-lamsal" data-a2a-title="Bhim Nidhi Tiwari: A Born Writer Of Nepal / Yuba Nath Lamsal"><a class="a2a_dd addtoany_share" href="https://www.addtoany.com/share#url=http%3A%2F%2Fonlinesahitya.com%2Fnepali-literature%2Fbhim-nidhi-tiwari-born-writer-nepal-yuba-nath-lamsal&title=Bhim%20Nidhi%20Tiwari%3A%20A%20Born%20Writer%20Of%20Nepal%20%2F%20Yuba%20Nath%20Lamsal"></a><a class="a2a_button_facebook"></a><a class="a2a_button_twitter"></a><a class="a2a_button_google_plus"></a></span>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/28" hreflang="en">Bhimnidhi Tiwari</a></div>
<div class="field--item"><a href="http://onlinesahitya.com/category/author/yubanath-lamsal" hreflang="en">Yubanath Lamsal</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><p><img src="http://onlinesahitya.com/sites/default/files/bhimnidhi1.jpg" alt="Bhim Nidhi Tiwari" title="Bhim Nidhi Tiwari" width="200" height="267" style="float: right; margin-left: 5px; margin-right: 5px; border: 1px solid black;" />Bhim Nidhi Tiwari is one of the legendary literary icons of Nepal. His contribution in the field of Nepali literature is so great that he would always remain in the heart of millions of Nepali speaking population both at home and abroad. There are more than three dozen books to his credit—a feat only a few Nepali writers have achieved.<!--break--></p><p>Bhim Nidhi Tiwari was born to Lalnidhi Tiwari and Nada Kumari Tiwari in Dilli Bazar, Kathmandu in 1911 AD. The Tiwari family belonged to middle class and his childhood period was blissful until he lost his mother. His mother Nanda Kumari Tiwari died when Bhim Nidhi was just a seven years old. The death of loving mother brought about both physical difficulty and mental shock to young Tiwari.</p><p>The death of mother shocked him and the scene he saw in the ghat—the funeral site—kept on haunting him throughout his life. In the middle of the night, seven-year Tiwari was taken to the bank of river, where the body of his mother was laying. He gave dagbatti to his mother by lighting the funeral pyre on which the body was laying. He bade last farewell to his beloved mother and watched mother’s body burn into ashes. His head was shaved. Later he wrote a poem called ‘Dhagbatti’ recounting this scene and his feelings about his mother’s death. His inner poet came out to express this grief and ultimately made him a great poet and writer of Nepal. The other grief and sorrow befell upon him before he reached adulthood. At the age of 27, he lost his father as well. The death of father placed all burden of the entire family upon him.</p><p>He could not regularly attend the school due to early death of his mother. He was self-studied person. Although he completed intermediate level in liberal arts, he did it quite late during his adulthood. It is said that he appeared in the examinations for the intermediate level along with his daughter. He had started writing quite earlier and he had to study his own works when he appeared in the intermediate level examinations of Tribhuvan University.</p><p>He was of the view that a person had to learn different things that comes across him/her. He believed that being a human being, one must be self-reliant and one has to do all works that a person needs. So, he used to do all personal works and also would participate in the household chorus. Cooperation, love and compassion towards the fellow human being are his motto. Thus, he had sympathy and support for the less advantageous people in the society. Creation was in his mind. He loved and appreciated creative works. Apart from writing, he learnt music, fine art and other vocations. He was also interested in gardening and philanthropic works. He got inspiration and encouragement in these vocations and activities from his father. But his main concentration was in writing. Thus, he soon rose as a celebrated writer in all genres of literature in Nepal.</p><p>As the responsibility to support the family came upon his shoulders, he joined the government job and worked as a government employee in various offices for 32 years. He worked as a junior officer in the Ministry of Education and was later promoted to under secretary. Despite being a public servant, he continued to write and his major works came out during the period of his service as a civil servant. Later, he established a press called ‘Nepal Sahitya Press’ which was a major turning point in his literary career. Similarly, he established ‘Nepal Natak Sangh ( Nepal Drama Society) in 1949 with the objective of promoting Nepali dramas and Nepali literature. It is through this organization (Drama Society) he promoted dramas by staging many Nepali plays on various occasions and in various places. As he established the Drama Society, he had to write plays to perform on the stage, which made him a dramatist. If he had not established the Drama Society, Bhim Nidhi Tiwari, perhaps, would have concentrated more on poems and other branches of literature.</p><p>Tiwari witnessed two eras during his life time. He saw Rana period when the law of the rulers was in vogue. Individual freedom including the freedom of expression had been restricted. As a writer, he wanted to express freely and live a life of free thinker. But that was not possible during the Rana rule. The writer had to focus more on historical, religious and metaphysical themes because social, political and cultural themes could invite wraths from the Rana rulers. One has to either eulogize the Ranas or simply skip social and political themes. If one had to write on social themes, the writer had to take extra caution so that there would not be even a slightest negative remark on the then political structure, system and ruling clans. Bhim Nidhi Tiwari, therefore, chose the theme of historical, religious and metaphysical theme in his early works—be it poems, stories, essays or dramas. When he got more mature in writing and thinking, he started writing on social themes.</p><p>Tiwari was a free thinker and his works have reflected his philosophy as a thinker. Freedom of expression and free thinking were what Tiwari had believed and it always stirred his mind. He wanted to express his thoughts openly and clearly and he chose the literary way to express his thoughts in public. He wrote being inspired from natural surroundings, social incidents and culture. As he was moved by natural setting, he wrote in a naturalist and romantic style. The social incidents and happenings and cultural aberrations made him more sensitive and sentimental in writing. These feelings made him existentialist, humanist and an advocate of social changes and reforms.</p><p>Tiwari began his writing career with poems and his first poem is Suryaghat. He has written gazals, poems in meter (rhyme) and verse poetry. According to critic Ghataraj Bhattarai, Bhim Nidhi Tiwari was inspired by Laxmi Dutta Panta to write gazals, whereas his metrical poems were inspired by tradition and his senior poets. Until his age, the verse poetry had not been popular and many poets chose to write in rhyme borrowing the tradition of Sanskrit poems. But Bhim Nidhi found it easier to express inner feelings freely and openly in verses. In verses, he did not have to be bound by the metrical rule. He, therefore, composed them for freedom of expression.</p><p>Tiwari has written poems both in verse and non verse, essays, fictions and plays. He is a versatile poet. He has written tragic, educative, reformative, suggestive, radical, and revolutionary poems. He could write poems on any subject in a spontaneous manner. There was no particular time for Tiwari to write a poem. He could write any time when the poet within him tells to write. Tiwari once said to Ghataraj Bhattarai, " I have a poet within myself but cannot tell where it is. I also cannot say where, when and how it tells me to write poems. It orders me even in midnight when I am in a sound sleep and I woke up which I have to obey and have been obeying". . As he wrote prose poems in the latter part of his life, the prose poems are more mature. We find a blend of romanticism, idealism, nature praise, humanism, existentialism, satire and revolution in his poem. In other words, Bhim Nidhi Tiwari as a poet is all in one and one in all.</p><p>Tiwari looks more powerful in plays. His plays are so powerful and strong that they have really stirred the mind and sentiment of the readers. His plays have varied themes. But those plays which have been written on social and historical themes are more popular and stronger. "Sahanshila Shusila" is the best example of social drama that has been written on the contemporary social setting which tells the social tradition and cultural practices of the contemporary society. Among the historical plays, "Silanyas", "Chautara Laxmi Narayana" and " Mato Ko Maya" are brilliant which portray the historical development of Nepal. "Silanyas" has vividly and authentically presented the social setting and political and social scenario before Nepal was created.</p><p><span style="font-size: 13px;">His era marks a break from the past. The traditional play writing was based on idealism, which did not reflect what society was but preached what society should be like. But Tiwari broke this tradition and set a new standard and introduced a new approach in literary writing. He has described what was happening in the society and how people had exactly felt. The style and approach of addressing the societal issues and originality are major aspects that have made him distinct in the Nepal literary spectrum. His plays reflect high artistic values and literary intellect.</span></p><p><span style="font-size: 13px;">As a multi-dimensional and versatile literary figure, Tiwari is also a fiction writer. He has written many short stories and published more than three dozen books consisting of his stories. Like in dramas, the social and contemporary issues are the main themes of his stories. His place in this branch of literature is also unique and important because of his own quality. He has simple and lucid language which is the lingua franca of common people. As a novelist, he has also earned reputation of a champion of social cause. Although Tiwari has contributed to all branches of literature, his mastery is in the drama field. Balkrishna Sama is the master playwright of Nepal but Bhim Nidhi Tiwari’s role and contribution is equally significant. In terms of craft of language and use of imageries, Sama has, indeed, earned highest place in Nepali drama but Tiwari is equally respected for his choice of theme of common people and historical incidents.</span></p><p><span style="font-size: 13px;">(Source: The Rising Nepal)</span></p></div>
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Tue, 01 Oct 2013 16:42:56 +0000Online Sahitya1273 at http://onlinesahitya.comPoet Writes For The Moment / Kamala B Saruphttp://onlinesahitya.com/nepali-literature/poet-writes-moment-kamala-b-sarup
<span>Poet Writes For The Moment / Kamala B Sarup</span>
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<span>Tue, 10/01/2013 - 02:48</span>
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<div class="field--item"><a href="http://onlinesahitya.com/taxonomy/term/98" hreflang="en">Kamala Sarup</a></div>
<div class="field--item"><a href="http://onlinesahitya.com/category/author/dubasu-chhetri" hreflang="en">DuBaSu Chhetri</a></div>
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<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><p><img src="http://onlinesahitya.com/sites/default/files/dubasu_ashwamegh_yagyaka_ghodaharu.jpg" alt="Dubasu Chhetri" title="Ashwamegh Yagyaka Ghodaharu" width="300" height="262" style="float: right; border: 1px solid black; margin-left: 5px; margin-right: 5px;" /></p><p class="p1"><span style="font-size: 13px;">Dr. Dubasu Chhetri's work 'Aswomedh Yagya ka Ghodaharu'‚ an anthology of poems is beautiful. In these turbulent times, many writers reveal more about their likes and dislikes rather than the causes and effects of current events. But a poet Dubasu Chhetri is different. He writes more about the causes and effects of life and society. His poems defines the life method, explains how it differs from other knowledge and wisdom.<!--break--></span></p><p class="p1"><span style="font-size: 13px;"><br />w and why poems evolved: Maybe it somehow tends to preserve the literature. Or life selection? Hence, it is on the "beauty and life" because some of his poem has some empirical</span>From a my point of view, all poems, and his writing and thought, including thoughts about society, are derived from evolution. It remains exactly ho</p><p class="p1">foundation that we know of. Is that poem superior to an alternatepoem of life? Can such a finding be placed on a base other than individualistic relativism?</p><p class="p1">Yes, I assume his poems mean justifications.</p><p class="p1">My thought: if we accept that poem is a kind of truthfulness is the core of life beauty, then time must on prime face grounds be moral. There is also the distinction between doing something that you think is wrong and confessing that act to someone that confession. And then the question becomes: what if your poems acknowledges your views perhaps in the context of an "open writing"? Is it then moral writing. The main principle of Kantian ethics is that the essence of the act itself-- that the essential rightness or wrongness of the actions must be weighed without regard to utilitarian, pragmatic, or perceived societal considerations. Thus, I think Kant would say that moral life duty alone determines whether or not life is moral.</p><p class="p1">Dubasu's poems thoughts about society and ethics proof life. His poems play with words, with facts. They set premises that they like as true proof and the conclusions follow execrably. His poems have something to do with the real world, which would be the case if the poems are based on facts, which they are. Hence, the multitude of philosophical ethical theories, all of which are testable and therefor factual.</p><p class="p1">I would like to mention here how Kant, like all philosophers has analytic "answers", but not synthetic ones that humans would like, but will never have, to govern their lives. Kant's "categorical imperative", like everything else Kant wrote about, suffers from the continued error that reason alone can establish synthetic statements.</p><p class="p1">It cannot. One gains more about human existence and morality by reading Kant. I found some of Dubasu's writing with Kant's philosophy.</p><p class="p1">Dubasu further wrote "If we suffer from the same delusion : the belief that reason leads to truth. The theologians suffer from the delusion that belief in God leads to truth. Both are delusional kinds of people.</p><p class="p1">I agree with Dubasu. I think, many poets have delusions too, but at least for most of the time they ground their beliefs on facts, reason, something the writers liked because they have to talk about except definitions and the relationships among them.</p><p class="p1">So far, Dubasu has said absolutely about real world ethics. All his writing tell me are two facts.</p><p class="p1">Dubasu's poem is based on multiple observations and logic views on life. Looking at world beauty, I found one thing is certain in his poems is - all people have some form or another beliefs. How did such concept came about? His poems suggests that it is life, therefore, it is likely to have evolved beauty. I speculate the following for his creation:</p><p class="p1">After the Homo genus (philosopher)'s language at a period when life was precarious. In this way, life-beliefs became poems. All poems wiring requires a conducive environment to express itself in thought and behavior. Thus, if a poet's environment has a preponderance of life believers, the creation will likely believe in life. On the other hand, if the poet writing is surrounded by life skeptics, he will likely become a skeptic of literature.</p><p class="p1">Dubasu's poems exceptional experiences can alter our beliefs acquired in life. Humanity are the institutionalization of his beliefs. Dubasu's poems derived from the specific cultures and prophets within those cultures. They are not inherited. To repeat, the above views are his poems based on them originated.</p><p class="p1">Anup Ojha's article said "DuBaSu Chhetri (Durga Bahadur Subedi Chheri) is one such poet from Nepal who has used his art as a medium for propagating social liberties".</p><p class="p1">Dubasu's poems methods, and he examines how it developed from our times, and indicates its relevancy to society. The poems method of acquiring knowledge is to determine facts where Dubasu is providing about cause and effect relations among literature.</p><p class="p1">Dubasu's book is divided into eleven sections.</p><p class="p1">Anup Ojha furher stated " Chhetri’s poems are filled with seething rage against tyrants.The book aims to expose the power and glory of these ancient leaders, and the arrogance with which they reigned, using this as a means of critiquing contemporary incarnations of such rulers. Poet Krishna Dharabasi also goes on to praise the “highly experimental style” of Chhetri’s writing, where he has employed the Chautho Aayam—a literary theory he himself evolved.</p><p class="p2"><span style="font-size: 13px;">The 450-page volume is priced at Rs 500, and is available at various book shops.</span></p><p class="p2"><span style="font-size: 13px;">Copyright </span><a style="font-size: 13px;" href="http://mediaforfreedom.com/"><span class="s2">mediaforfreedom.com</span></a></p></div>
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